“The Magic Flute” long ago secured its place among the most beloved operas of all time, because the 1791 work manages to strike just the right balance of truth and tomfoolery as a love story, morality tale and exotic fantasy all in one.
In an eight-performance production, which opened Nov. 10 and runs through Sunday, Opera Colorado offers a suitably fairy-tale take on this masterpiece, bringing back Maurice Sendak’s now-classic sets and costumes.
Created in 1980 for the Houston Grand Opera, these evocative visual elements in Sendak’s inimitable storybook, cartoony style have been employed by more than 30 companies across the country. They were last seen in Denver seven years ago.
Although these well-used sets and costumes are beginning to look a little worn and dated, as might be expected more than 25 years after their debut, they still convey the sense of magic and childlike wonderment that is so much a part of this opera.
Using these elements as the foundation, stage director Kevin Newbury, making his second appearance with the company, has put together a witty, generally agreeable production that captures much of the opera’s essential wit, charm and basic emotions.
But something – a certain spark, a level of dynamism – is missing. Notions of time should melt away as the audience is transported to this world of make-believe, but some operagoers will likely find themselves squirming a bit in their seats by the third hour.
Some of the blame must be placed at the feet of conductor Dean Williamson, whose pacing drags at times, particularly in the critical junctures between scenes. That said, the power of Mozart’s masterful music, written shortly before his death, still comes through.
Unlike some of its other productions, Opera Colorado forewent any major singers in its lineup for “The Magic Flute.” On one hand, this makes sense, considering it is a true ensemble work with no one dominant role. On the other, perhaps a star performer could give this production a needed jolt of pizazz.
The cast remains the same for all performances except for the performers who switch off in the roles of the two young lovers, Tamino and Pamina. Tenor Frédéric Antoun and soprano Heidi Stober, who appeared in the two roles in the Nov. 11 performance, have the edge when it comes to acting, doing more to inject energy into the production.
But tenor Norman Reinhardt and soprano Ying Huang, who took the roles for opening night Nov. 10, offer a little more in terms of their vocal performances, especially Huang, whose lilting voice suits Pamina well.
But the production’s best singing is found elsewhere. Bass-baritone Vitalij Kowaljow is superb as Sarastro, bringing an appropriately magisterial quality to the elder figure. With an ample, resonant voice, he handles the role’s low notes with elegant ease.
With his physicality, wonderful comic sense and fine voice, baritone Mel Ulrich lights up this production as Papageno, the hapless birdcatcher who is always willing to set aside erudite discussions of good and evil for earthly pleasures such as a decent glass of wine.
Soprano Amanda Pabyan ably handles the role of the Queen of the Night, which is famous in the opera world for its extreme high notes and coloratura demands.
Deserving of special note are the three talented members of the Colorado Children’s Chorale who portray the three spirits. Not only is their singing spot on, they deftly execute the subtle choreography for the other-worldly threesome.
The singers are Daniel Slavick-Pobywajlo, 12, of Boulder; Jamie Wollum, 14, of Denver, and Anna Montgomery, 13, of Boulder.
Fine arts critic Kyle MacMillan can be reached at 303-954-1675 or kmacmillan@denverpost.com.
“The Magic Flute”
Opera Colorado|Ellie Caulkins Opera House, Denver Performing Arts Complex, 14th and Curtis streets; 7:30 p.m. today, Friday and Saturday and 2 p.m. Sunday|$27-$157; family “four-packs” available for $200|303-357-2787 or ticketmaster.com
